Making a porcelain stand for first conversant piece.
This piece was the first of three I made during the Summer before going away in September. I was highly disappointed with the outcome but it indicated the way for the next piece. I learnt a great deal along the way. How to break away from preconceptions. I played with the surface but found that all the details added simply made the work neither one thing nor the other.
It was a good way of finding out how to embed the sound apparatus and making procedure but not the artistic content. I consider this a failure well worth making as it has led to more interesting ideas.
An idea I worked with was the imprisoning of sound, not allowing it to escape but making it audibly entrapped in the ceramic body. The protuberances making the whole fragile, the brittle pieces creating a further barrier to the sounds from inside.
I have moved on from this idea. I feel that at times, ideas that appear to work when described in words do not necessarily come together as a work in another medium. The Project Proposal now reflects this as I pare it down.
“There is a desperation in al certainty. The category of political uncertainty, philosophical uncertainty, uncertainty of images is much closer to how the world is”, says South African artist William Kentridge in this video presenting his work.
Collected these treasures on a beach in the South of France the day before yesterday. Janet picked up the biofacts and mineral objects. I was drawn to the glass worn by the incessant wave action. What would our distant, and perhaps not so distant ancestors have given for these coloured jewels? They would have certainly used them to adorn themselves and decorate their most precious possessions; traded them inland and held them as symbols of status, wealth and beauty. The irony is that these are today’s waste cast into the sea, transformed and neglected in the sands of a affluent watering hole.
What will our descendants think of the pebbles and algae washed up on shore? The pebbles will always be there, or somewhere else. The algae, who knows. All too often, the natural environment is entangled with plastic and other detritus from our ‘evolved’ world. How will clean, natural things be seen in the future?
Janet and I collected different things, One the natural historian, the other the archaeologist. The two go hand in hand, and we did not ‘fight’ over any particular object. The truth is, that we helped each other to find the objects we sought. A meaningful juxtaposition arising out of a collaborative exploration on a modest scale.
Gareth Jones, in his essay, describes the historical changes in the relationship between sculpture and sound. This dichotomous tension is straddled by Gil’s work in Sonic Plasticity proposes the use of sound as a malleable material – one that can be stretched in all dimensions, encompassing height, width, and depth, with curves, edges, and changing geometries. His Aural Fields and Resonant Bodies combine physical structures set to vibrate, creating geometric fields of sound perceivable in space with edges and form.
This is an interesting field I am currently investigating with respect to the final proposal with respect to sculptures. I am not proposing to do the same sort of thing but Gil’s work does have correspondence with how I see sound as creating a physical entity in itself.
My idea is to counterpoise the readability and sensuality of the solid pieces with the pure perception and sensuality in another modality of sound. I am concerned about the cancelling out of one another: should solid sculpture reside in silence, should sound be disembodied? These are questions I intend to explore and aim to resolve in some way. The use of digital interactive devices is something I have been working with enabling an element of audience interaction. But then again, the work in silence also speaks of itself. This is an interesting area of empirical research which needs a trial and error, or heuristic, approach.
An amputation is not something one would want. Sculptures have suffered amputations throughout the ages, some repaired, others restored and yet others left as they were found, This Herakles, Venus de Milo, the Belvedere Torso and so on. Limbs at times distract from the sense of form, many artists have known this, others have incorporated the limbs so that it merges into the body.
I have had a problem in that I want to make large ceramic works but the kiln is only so large. I have a top loader 59 cm diameter and 69 cm high which needs to be wired in. This is not small but neither is it large enough. What to do?
I had thought of jointing the pieces much as I did with the works in Chaos Contained. But this is not in keeping with the informal, organic sense of the works I am currently engaged with. Chaos contained was about symmetrical growth from within, an outward radiation. Now the works are internally generated, handled in a completely different way.
So I looked at how I could make the pieces in parts to be put together later after firing. I came across the work of Giovanni Vetere who works with glazed ceramics. The pieces are much larger than would fit in a regular kiln. In addition they would be unstable and too fragile for firing in one piece. On closer inspection of his work I noticed that they are made in pieces using the glaze patterns to camouflage the joints.
I could try to hide the joints when installing but would there be a better way? To show the cut, a severance, a clean cut that must signify something. And it opens the way for future large works where the cut plays a part. It may even lead to being able to show a work in its pieces arranged meaningfully or at least aesthetically.
What this does for my ongoing work is to provide a formal solution to having a kiln smaller than the fluid forms I want to make: the parts can be fitted together after firing. It also solves the problem of how to insert and remove sound equipment. Conceptually, this technique offers the opportunity for representing vulnerability, fragility and reformation; perhaps also creating compositions, of parts that relate to one another and reconstituting them in different configurations.
Images above: works by William Latham, John Horton Conway and Andrew Lord
Evolutionary Space: A way of looking at art practice as continual process in a disparate ecology.
Art practices have become widely divergent and disparate in recent years, particularly since the arrival of digital means which have opened out previously unimagined possibilities. Different taxonomies representing a great variety of paradigms, methodologies, thematics, mediums and contexts have given rise to a heterogeneity of approaches when considering practices and the role of artists which can render problematic a holistic consideration of different ways of generating art. Using Conway’s “Life, Latham’s “Mutator”, and the work of ceramic sculptor Andrew Lord as subjects, this paper introduces an approach to discussing art practices, fostering a unified view in the midst of diversity, evolutionary space. Borrowing from the idea of fitness landscape in evolutionary theory, applying it to Olson’s analysis of computer generated life regarding the relationship between pure information and its physical interpretation, in the context of Whitehead’s process philosophy of becoming, and Dennett’s idea of algorithms, a picture is built of how different art practices can be viewed as dynamic information streams coded and implemented in material terms.
The research paper has changed radically and become frighteningly simply because I have a tendency to complicate things. The above may seem complicated but it is in fact a straightforward synthesis of ideas from various fields to construct a different way of talking about art practices which goes some way to avoid value judgements and the need to describe things subjectively. Writing the paper is making me focus on an increasingly narrow narrative as an explication for a broad idea. It is frustrating at times because I want to explore a multiplicity of ideas but by considering a wide field and having to progressively select out is also liberating. It shows me that things can be simple without loosing depth. Implied ideas can be just as powerful in leaving the reader the possibility to uncover them or find new things and feel the sense of discovery rather than having them pointed out. The methodology I am constructing is also feeding into the project proposal: I no longer feel compelled to spell out every idea.
Betty brought Marguerite Humeau to my attention during her feedback to my Mid Point Review. The artist works with similar ideas I work with, organic life, sound, the past and myths. It is interesting but I do find her installations somewhat too clinical and the sculptures lacking in depth. What I mean by this is that they do not have scales of vision: they are large and smooth and had all their interest sanded off them. The slickness lacks humanity and looks rather plastic and artificial which does not seem quite in keeping with her ideas. They look like reproductions of Blender renders in fibreglass or some similar material. In any case, I like that she works with mediums and ideas that I can identify with and is one of very few artists that is in my direct sphere of interest.
My Research Statement started clearly but tailed off towards an uncertain ending. I had the thread, subject knowledge and so on but crucially what I was thinking was only of slight relevance to contemporary art. I had been dealing with histories of knowledge and putting together a viewpoint that although very interesting to my mind, it was not pertinent to contemporary art and did not contribute to my practice, neither methodologically nor theoretically: I just found it interesting.
I had written around two-and-a-half thousand words when the recurring feeling of dread that asks, where is all this going, became too strong to ignore. I had barely started to look at contemporary artist that might be relevant to the paper. I looked at some suggestion Gareth had given me. Most were examples that were nothing close to what I was talking about, but you only need one, and one did stand out ticking all the boxes. I found that William Latham has been working in a similar way to me for years. He has developed an evolutionary art with computers, I have done it with sculpture. I looked up some references I was familiar with to do with cell automation, a bit about AI and found these things fitted into the contexts I had thought of previously: the Cambrian explosion and the Early Bronze Age.
I am excited in that the hypothesis I am now proposing brings together art, biology, anthropology/archaeology, the digital environment, virtual worlds, philosophy and the future. The idea is not fully fleshed out yet but it is on its way and would not have been possible had I not started the way I did. The idea came a few days ago as a need to find a way of talking about very different artistic processes in the same terms. I have found that despite all the talk of breaking down barriers, merging and blurring the boundaries, art has become too disparate and dispersed. A fog of taxonomies, political stances, power plays creates in me an inability to talk about things cohesively and clearly without having to ignore the unique characteristics of each practice or making crass generalisations. This is not an attempt to judge or weigh one art form against another. On the contrary, it is a way of critically looking at each practice and identifying what makes it unique without recourse to subjectivity. I know that this is a bold claim and it may unravel as I write the paper but it is an interesting exercise. It is probably just another supporting piece of thinking. Many attempts have been made to do this since structuralist, post-structuralist and subsequent theories. I think Wittgenstein wrote something along these lines but it was based on a philosophical logic form that is not easy to understand.
And finally, it is directly relevant to me by helping to re-contextualise my practice in the contemporary environment. I think it could be one way of universally thinking or rethinking about process, categories, art, anything that involves change, which is virtually everything.
Note to self: writing this down is a way of telling myself to continue writing, researching and composing ideas.
Warning: this post contains very subjective material.
After over six months I still remember one visit and one work in particular. At the Annka Kultys Gallery in the London City Island an exhibition of digital works was showing entitled Re-Figure-Ground. Two things I remember, the video-game-like virtual reality goggle-based immersive 3D videos complete with kinetic controls with which to travel within the virtual world, and a simple 3D animation that did not do much with a spoken audio.
The VR works were interesting enough from the point of view of technology but quite honestly they left me underwhelmed on account of their lack of conveying any point to them other than showcasing the technical work. And to add, the resolution was so poor that it left me wondering whether I needed new glasses. This inconsistency between the vision and the actual vision left me somewhat frustrated. Claudia Hart’s augmented reality was like walking through a myopic fruit machine of social media icons along pointless corridors. The fact that she is examining the body, perception and nature ‘adapt[ing] the forms and software normally used to create 3D shooter games was no compensation for what was clearly meant to be a transformational experience.
The Karst cave by Snow Yunxue Fu’s was, as she says, an attempt to embody the concept of Plato’s cave in a virtual realm. She then continues to say, ‘providing a contemplative environment for the visitor to wonder; walking and teleporting within the control of the wireframed virtual hands that are given to them’. Really, Plato’s cave? That is certainly not what Plato was on about when he described our secondhand manipulated perception of the world. Leave that bit of referencing and you are left with an enjoyable, if somewhat, again myopic trip fantastic.
The rest of the show I found cold but one work did stand out for me, and it was not the most accomplished technically. Morehshin Allahyari’s video installation She Who Sees the Unknown, Aisha Qandisha was a back projected video1 of a 3D animated figure that did not do much other than turn around a bit and sit in some sort of digital sea. On its own it would have graced any number of album covers for some group or other singing about whatever. However, when combined with the narrative it became something else. It transported me to another world of magical realism in some ancient past which is very much present.
The combination of powerful scripted content with a weird large image moving, now menacingly with the audio gave me the sense of a deity being displayed before its awestruck followers. This remains in my mind not only for the content but how something relatively simple in digital terms, can still have impact compared to more sophisticated presentations.
Much of her earlier work does not do much for me. It is overtly political and lacks depth; mimicking the tired old tropes of various movements in previous years. Thankfully, she has developed a more personal voice that has moved her into a rich imaginative space.
Onto a white acrylic sheet (transmits around the require 50% of light for a good back lighting as Jonathan explained to me) suspended from the ceiling and cleanly fitted onto the sheet by means probably of some sort of projection mapping [↩]
As I work, I think of how the final pieces will look. Porcelain is a strange material. Silky smooth when fired with a grainy feel if left unglazed. I want to give the surface a skin-like feel.
The Belvedere Torso in the Vatican collection was a seminal inspiration for Michelangelo. Signed “Apollonius son of Nestor, Athenian”. Marble acquires a softness that bellies its nature as stone. Sculpture in stone influences my choice of material. But I choose ceramic as a pliable stone which is transformed by the alchemy of heat. Porcelain is like the white marble of stones and glazing it seems to me betrays the traces of handling and so an essential characteristic of its making.
Why do I choose the Belvedere as an example of marble statuary? Because arms and legs are functional, locomotory and grasping. The body is the centre of physical being from which other things radiate. As it was with our primordial ancestors, so it is with the forms I am working on.
Glazing speaks to me of function, impermeability. The body is not impermeable but in continual transaction with the world. In early times the clay was burnished to render vessels less porous. Decoration has always been applied to ceramics, from the rhythmical marking of the beaker people, to the finest renderings. From symbolism to shear exuberance and delight, ceramics have diversified and many left function behind long ago evidenced in the heritage of form only.
I have experimented extensively with Parian clay which was developed to look and feel like marble, it is soft, vitreous and warm, but it is hellishly difficult to use and is subject to warping and cracking. It is better suited to casting large pieces. Casting at this stage is not for me, it is not sufficiently spontaneous and better left as a means of reproduction. However, I shall continue to work with it on smaller scales.
I do not want to use glaze because it covers detail and the sculpture looses the surface nuances developed during its making. However, the raw biscuit low fired material is brilliant white and unsubtle. It is also prone to get dirty and due to its porosity very difficult to clean. When fired to a higher temperature, the surface vitrifies and becomes sealed to a large extent, less porous and prone to atmospheric damage and the dirty that comes with handling and storage. However, the crystalline surface is still very white and lacks the organic surface quality I am looking for. When the porcelain is unfired and still wet, it has a flesh like look, a warm grey that responds to handling developing a beautiful sheen where it is burnished. However, this disappears on firing. I have looked for a finish that can restore to some extent that sense of sensual softness and has the following characteristics:
does not yellow over time,
does not create a thick layer,
is not glossy
and is easily restored.
Having experimented with a number of possible candidates I have found that the humble paraffin wax candle is the ideal substance. The porcelain is heated with a hot air blower and the wax rubbed on building a very thin layer that penetrates the microscopic pores on the surface and creates a colourless, translucent finish. Finally it is burnished with a cloth or brush.
Starting is always the hardest thing, unless one were to consider finishing. Both are difficult for different reasons. Finishing is the moment when you realise you have done what you can, it cannot be otherwise. It is the collapse of the potential that had been possessed before and during the making. Its gift is to whisper or shout according to its own inclination how the next work might proceed. And that brings me back to the beginning, starting a work.
I am starting a new piece in porcelain, white as the blank canvas of a painter, the beginning of a long journey. And as I set out without a set destination, only a sense of what I am looking for, that freedom is frightening. It reveals my shortcomings in the midst of a vision pulling me back to how I did things before. What is that the right course of action, how do I navigate this landscape of decision and indecision?
To know what to do is not the point. It is the how and the why that will give me the framework to hold on to. Take that journey, on foot say, into a forest with neither the stars to guide me nor compass or map. I have no destination, only the ends of the Earth. If I try to walk in a straight line I will simply do so in circles and find myself back to where I started. I must decide on a course of action, a simple set of rules to break the bias of my own nature. Sometimes rules are changed a little but not so much as for me to loose my way irrevocably.
Over years a method is perfected as is the reason for it. I work as a cartographer, marking each point as a star to guide me, a landmark to aim for. But this is art, not some field to be gridded out with a surveyor’s precision. To do so would yield little more than what is in the ground and the rule itself. To look beyond that field is where progress lies. Progress is born of change, imposed, contingent or better still by means of my own agency. To do so is to turn the world on its side and refresh sight from another vantage point. But habits possess inertia, to turn them over I need help. Something I have learnt working with Janet is to do what I would not do normally. This is just one way of changing the course of things and refreshing what might otherwise become limp.
And so it is with the work I do now and the research statement. By this stage, I should not have to worry about where a work will end, it never ends as each finish is but the start of the next.
What struck me when I got the Arduino board was, how small it is, how small all of the things are. And that means, that they will be far less obtrusive than I had previously thought. And seeing how easy it is to work with I look forward to learning a great deal.
The next step is to get to grips with the coding. Fortunately there is a lot of help on the web and even if some piece of code is not exactly what I need, I feel much more confident to be able to tailor it to my needs.
How do I feel about using digital sound in conjunction with sculptures? I have always felt there is an equivocal relationship between sculpture, or statuary to be more precise, and sound. Is a statue not meant to be silent, to be contemplated without the distraction of noise?
But what if the sound comes from within, trapped, allowed a small breathing hole to reach one’s ears, fingertips, barely audible, sensed; a sound that is neither music nor the result of some kinetic accident? I see the sculpture as the receptacle of its own soul, the embodiment of what it is in its nature to be gently radiating outwards, translated into vibrations seeking connection.
There is of course an element of humour in all this, for it to be otherwise would be melodramatic and to what end: humour can be poignant, questioning, engaging, cathartic. All I know is, I go with where the work takes me as it also follows me.
Always you were drawn to the composite creatures, the broken and reassembled, for that is what you are.
The first Research Paper tutorial was a sounding out of the initial outline. It was helpful in thinking about the way the narrative might go and how to apportion space to each component. My responses so far are:
There is a dialogue between the literal and metaphorical manifest as the biological and the cultural.
This leads me to think that I am dealing with three different ecosystems: biological, cultural and machine;
embedded in the Cambrian explosion, Early Bronze Age and the age of digital (for now) machines.
We are currently living in the cultural age which is on the threshold of the cultural-machine thinking period.
Useful worker to look at is William Latham.
Comparison between biological systems and machine systems – for now the human element is still the predominant one and machines are used as ‘intelligent’ tools.
The tutorial helped me in re-evaluating what I have done so far and how to place the historical knowledge element as a contextual framework for talking about the contemporary state of things. This will need a great deal of focussing but I think I can condense the historical elements into just a few hundred words.
The paper really touches on the philosophical ontology of current biology-computational art in relation to truly biological systems… in the context of culture.
Useful worker in the field of computer generated life: Eric T. Olson at Sheffield. He looks at the relationship between animals and humans at a philosophical level.
I mentioned in a recent post that I am now ready to look into a contemporary context for my work. This is not altogether easy as what I do is not centred on one idea or medium alone. I know that many artists today are cross disciplinary and work in various mediums; this makes contextual correspondences all the harder to find. I have to be careful not to mention every one and sundry that I like or identify with in some way. This sort of openness would only confuse and lead to a lack of direction. What would making a long list do, help in the project development, show my wide taste in things?
No, what I am looking for is work that directly contextualises mine in terms of contemporary ideas and environments. Andrew Lord, ten years my senior is one such practitioner. Although he would not like to be called a potter, his body of work very much centres on the idea of vessels and clay, something I also work with.
Lord’s central notion is an interesting one. It is an idea that many working in clay have followed for some time, that of ‘rescuing’ pottery from still life painting. As Mark del Vecchio lucidly points out in his book, Postmodern Ceramics:
From Pablo Picasso to Giorgio Morandi, Vincent Van Gogh, and George Braque, pottery has tended to be the visual anchor of most still-life compositions. Contemporary ceramists have begun to reverse the compliment and draw inspiration from the paintings in which these pots appear, returning them to the three-dimensional realm, but retaining some painterly associations.
Looking for what is common between two and three dimensions is a process which also requires an awareness of what is lost in translation. Only in this way can an essence of the object be made manifest.
Andrew Lord displays his work in such a way as to allude to the still life genre by placing objects on tables and plinths, carefully arranged in terms of light, time of day, space and so on. The arrangements often remind me of Morandi’s still lifes, treated as emerging from the material becoming objects felt in the making. He leaves overt traces of how the object is formed often to the point of caricatured.
This work is consonant with elements of some of my work, playful and ‘rough modelled’ caressed into being aimed at a sense of Platonic idealism imperfectly fashion in and on (E)arth.
It also interest for me to note that in some cases, vases are displayed just off the floor in a similar way to how I plan to show H’s Play Things in the final show… with one twist.
Much of this approach is consonant with what Heidegger says in his essay, The Origin of the Work of Art:
The material (clay) is central and clearly evident in the work.
The clay is subservient to what is being portrayed yet it ‘shines forth’1.
There is a struggle between the nature of the material and what it tries to portray, what it is formed into or as Heidegger would say, between the Earth and the World.
The vessels are not the product of craft yet he uses, techne or mode of knowing, to bring out hidden Aletheia, or being.
The being of the thing is not just made, it is brought forth and made evident. It is generated from within through phusis as though through natural law.
But what is the role of craft in this act of phusis? Heidegger does become confusing, or more likely confused unable to articulate a distinction between craft and art: he descends into subjective ideas of the mystical and the sublime and sacred to support his thesis. Perhaps a simple, if still elusive reply is that the impetus for a work of art comes from within an internal process of natural growth, whereas craft’s impetus is external to its growth. It is clear to me that this categorisation is false in many cases and can only be considered from piece to piece and not generically.
Having said all this, Heidegger does provide a useful way of thinking about art as a spontaneous act of emergence in the making also raising interesting questions regarding the relationship between what is ‘being creative’ and artistic practice.
The object of my research at this point in terms of electronics, coding etc, is to control the audio output of a sound file using Arduino and an active IR sensor and that this system should be fully automated and self starting using a Raspberry Pi coded (perhaps) with Pduino.
I have looked at the possible components one by one and have arrived at the following which are open to change once I consult with Ed as to their suitability and viability.
This list may work as an indication of what I plan to use so as to gain, at least, a basic understanding of each component part. The coding is something else that I will have to be learnt over time once I procure the parts.
Raspberry Pi 3: used to command the Arduino controller. The reason for this is to make the system automated only requiring to be switched on without the need of a laptop to initiate the programme.
Arduino Uno: having researched the myriad of Arduino models, this one comes up as the universal board that will do most things. I don’t need particular miniaturisation or a large number of I/O pins.
Active Infra Red Sensor: for a proximity sensor capable of analogue output and differentiating distance. It has to be active with a both a IR transmitter and receiver. This sort is called an active (as opposed to passive) sensor. There are various models with different ranges. Other types of sensor include ultra sound sensors which are only suitable for detecting hard reflective surface. People do not make good reflectors as they absorb sound, particularly when clothed. On the other hand, people emit plenty of IR radiation. Sharp appear to offer the best range of sensors at a low price.
Digital potentiometer: to translate the distances picked up by the sensor and translating them into variable voltage that can be used to regulate output.
Media player: which stores and plays the sound files to be controlled. I do not yet know which type, whether incorporated in the Arduino, stand alone, usb stick or using the Pi as a media player. I suspect that using the Pi as a media player might complicate matters and a stand alone player might be simpler to incorporate in physical wiring. This I need to find out.
The speaker(s): I intend to use range from small to very large. The large one – 10 inch 4 Ω will need an amplifier that can deal with that low impedence. It will also have a particular case volume requirement, but that should not be a problem as the speakers positioning is not critical.
Breadboard and connectors: There are many sizes and types of breadboard which facilitate wiring without the need to solder. With this I will need jump lead connectors.
Resistors and capacitors: needed to regulate current in the circuit and perhaps a capacitor to help even out fluctuations in current. This may not be necessary when employing an amplifier. I shall find out in due time.
LED: to test the circuit and proof of concept
Amplifier: is needed to amplify the sound signal and protect the Arduino circuit board from being ‘fried’ by the current drawn by the speaker(s). The amp takes the signal in the form of a small current and amplifies it sufficiently to ‘drive’ the speaker physically – which works by forcibly vibrating a drum-like membrane via voltage oscillations in a solenoid. I have a number of amplifiers from old HiFi systems. Alternatively I could get a smaller amp board; which one depends on the requirements of the speaker. A small amp size would be preferable for logistic and space reasons.
Multimeter: for measuring current, resistence, capacitance, voltage etc. Necessary to ascertain values and ensure connections are sound. I do not need an expensive model as it will not need much use, certainly not heavy duty and robustness is not an issue in the studio.
Sound files: whether mp3 or wav may not be important since the sound I intend to use would not suffer from being in high fidelity. After all, most output nowadays is in mp3 and the relative loss of detail is hardly noticeable in normal circumstances.
My works are based on a strong sense of materiality as a means of grasping abstract ideas. To translate these from objects of the mind to ones that occupy three dimensional space is to rescue them from ephemerality. This in itself changes their nature as they arise in the making, capturing feeling in the material, moving away from the imagined to the physical. Concrete as they are, they probe into what is ephemeral and evanescent. Is it the phenomenon of being or the idea of being that is being represented here?
Clay is a material that can be shaped according to one’s own senses. Its inertness permits me to freeze moments of feeling and embed them in its corporeality. It is ideal for my approach, not to represent in some way thematic notions but to reify them. What emerges from these thoughts is that cycling and continuity are the abstract processes that underlie the thematics of time and life; and that in the work, space becomes actual material and that material defines the work, its thingliness, alongside its theoretical and contextual characteristics and qualities.
Albeit I see the work as the thing itself, it is also a vessel holding allegorical content. It brings forth into reality the very notions that led to its making. However, in all probability these might well remain hidden if not layered with or disclosed by context. Context can wrap around the work in many ways, through text, juxta-positioning, placement, images, sound and so on. It is an area that I must work on diligently..
To make the object of the mind otherwise, digitally printed, commissioned or projected in another (more resistant) material, would not be the same. I need the direct contact between hand, eye, mind and material that makes it what it is and nothing else. The directness of touch as a principle conduit for embedding feeling in what otherwise might be materially impersonal. It is a synthesis of the untouchability of an idea and the inability to express that ideal form physically. It is as direct as stroking an animal or smelling a flower yet one can not be an animal or a flower. This creates a bridge between maker and receiver that subverts the continual increase in faux intimacy engendered by the current use of technology in today’s society, as in social media and infinite multiples of the same thing.
The human haptic mode encodes a complexity of information transmitted from in-the-making and passes on to experiencing. They come close to being one and the same thing. The object becomes more than something that can be seen and touched: it is a vehicle for subtle empathy. Not the sentimentality we attach to cherished, used objects of mass production.
This subtle empathy which, placed in a human context, links me to the themes of the work relating to natural forces. I no longer am an observer but a participator in creating and remaking the world. The work is overtly human but also non-anthropic. It reminds me that we are part of nature but not necessarily central to it. We only make it so for existential reasons as do all other plants and animals. It is this survival, cycle, continuity that is again at the root of my ideas. But unlike an animal or a plant I can see beyond my immediate world, give form to other worlds and times. This gives me a special privilege and responsibility.
As to the basic form of the vessel that appears in much of my work? The vessel is a plane, folded on itself to become a container. We all were born as balls of cells that began their journey into the world as simple dimpled spheres from which a vessel was formed. This form defines the boundary between the physical inner and outer environment. It defines the limit of our corporeal existence. We can only project out of it through our senses and the mind. However complex the vessel might become, its fundamental property of containment remains.
I see the vessel as inviting exploration of what is within and without and more importantly what it is that connects the two. My particular area of interest is not only located in the now but in the connections with the past and how this is part of what the future might become. The present is the vessel for all things yet it is elusive, an idea ever changing. It is an elusive membrane whose allusion becomes object in much of what I do. The membrane of the present, the inside and outside, the self and other.
Walking along the East England coast at Mablethorpe, against that watery panorama, the hidden drama of life below the waves was being cast onto the sand by the receding tide; empty detritus waiting for the wading birds, once star dust become flesh dismembered one by one of existence in an instant of countless moments. Was the crab or the jelly fish aware of its being as I of theirs and my own? Able to witness in the cloud of thoughts that is constantly shaped by constellations of cells inside my body I too will drift and bear their fate in a struggle, dispassionate and brutal that brings forth beauty and engenders awe.
A single starfish lies nearby, I toss it back, no thanks or waving arms, only my knowing, does that count in the grand scheme of things? I can not live its life but in that moment see myself thrown and saved in some fashion, it is the way of things. As we all were once inanimate, only I made in this present form am able to save my other self.
How is this relevant to my project ? Mine is not an exercise in empathy, that cannot be for the subject is alien in form and substance. It is an expression of proximity to the other, I am made of the same paste, only arranged in a different ways, able to say this and pass it on. It is not entering some other life I seek but communion with that which is mute.
I have returned to Forest Hill from the Camberwell College library with an armful of books and eyes set on the horizon. In the previous post I took a broad, summary view of what I have done so far. One major characteristic of my methodology to date has been my intention to limit new artistic influences. My reasons for this are twofold: it has been an opportunity to re-evaluate my practice and articulate its synthesis whilst keeping things open and in order to do so maintain a clear view of the context and content.
The need to write the Research Paper now, is catalysing a process of finding new sources from within the contemporary artistic field which lie outside my own familiar domain (in all senses). I see this period as a time for drilling into the content of my work and looking at new artistic sources within and external to the paper. The time has come to take off one set of clothes and put on another.
I am not looking for direction, that I have in abundance, but rather for greater depth of means and idea. I have to be mindful not to overcomplicate things but this I can avoid by paring down to the essentials what I elaborate, again selecting, distilling, in this case correspondences with writers and other artists. The cuttings themselves will be useful for some other projects. The books I have taken out today and will borrow in the future I feel will help me in this regard: whether confirming, refuting or synthesising my ideas, any of these processes arising will prove valuable along the way to build on my understanding of things.
Put another way, so far during the first two phases I have been largely self-referential and self originating. I feel now in the position to absorb new influences into a robust framework that is stable enough not to be disrupted towards confusion and sufficiently flexible to adapt to new ideas and contexts.
Janet’s final show is now over. The works de-installed and packed, I now sit in the library at Camberwell looking at books. So many interesting books; it is a good way to introduce the third phase of unite one. The First phase was one of doing and as I did so, of looking around within a familiar space. From this space I moved in and out forming ideas, refuting others, articulating, clarifying and creating generalities out of which specifics could be selected, filtered and distilled.
The second phase has been one of articulating a thesis, closing some windows and passing through the one that is left to find myself in a vast landscape. It has been a time of deciding on a general direction and envisaging some sort of outcome partly manifest in the final show. I currently find myself in the narrow waist of an hourglass. Much time and many ideas have passed through and I now find myself on the threshold of what is to come. I have a clear idea of what that might be but I have yet to focus on particulars.
Being in Camberwell on and off for around three weeks has given me time away from the blog journal and making. I am forgetting and remembering, sloughing the superfluous which nevertheless has informed my journey. I now have a new perspective leading to a third phase.
The third phase is one where, although what I shall be concentrating on is more or less settled in form, the actual details of making, contextual framework, presentation, background are not yet clarified. This is a time where, having identified the domain in which I will be working, I can focus more deeply on every aspect of the work(s), layering deep sediments to form the body of this practice, making connections, meanings, engagements, and expressions, through techniques, symbols and tropes, modalities and affects.
It is a fascinating process because I now have to plan the works whilst keeping the process open. This I need to do because the making side of things can take a very long time. I also have to experiment new methods and techniques in order to incorporate the ideas I am working with. In addition, I have to contextualise those ideas and forms to position them meaningfully in the contemporary environment trying not to lose sight of where they have come from and the future.
What I have written here is a broad sense of what I am to do. What this is specifically, I shall write about later. For now I am still moving bodies in a mental space which are waiting to be reified and exposed. It is all so very open…
Returning home from the Janet’s show installation I had to think about the interim show’s work title. I have never been keen on the process of naming a work despite knowing how important it is; I have seen it as an intrusion of words that closes down meaning. However, having thought at length about the 17th June tutorial with Jonathan I feel quite different about the matter. It is no longer an external slapping on of words but an added layer of meaning, an entry into the work without necessarily fencing its meaning, rather offering a thought that, if the words are chosen carefully, is both suggestive and open. What is more important is that it is the possibility to introduce a rational side to the work, by virtue of the inherent characteristics of words, that helps create a dynamic equilibrium between the rational and emotional.
Here I reference the paradoxical time shifts that I deal with in my practice, being in the present whilst dealing with time frames interchangeably. I feel this title opens up a whole lot of ideas for me regarding the nature of time and life.
History, or at least the study of it, is in bad shape these days. Almost everyone agrees that knowing history is important, but in the United States, except at the most elite schools, the study of history is in freefall.
A very interesting take on the human condition. It touches on some of the things I spoke about with Jonathan in our tutorial.1
Pinkard opens with explaining how history is a process by which, ‘humanity experimentally seek[s] to understand itself in the myriad of ways in which it gives shape to itself in daily life, and also how historical change is intimately linked to changes in our basic self-understanding.’ As he puts it, shape-shifting ourselves across time.
This is at the core of what I do across Big History. Seeing how we are indissolubly part of our origins and yet try to shake off the past, blindly, without realising that it (the past) clings onto us, embedded in our very flesh.
In ‘What is the Difference’, the creatures shift shape as they rise the Babel-like tower, crude to refined, latent to defined, yet they bear a deep relationship woven into the fabric of life.
Hegel’s first fundamental idea for his philosophical history, self-consciousness, corresponds to the microcosm of the act of reflection in action and the meditative holistic sense in making. His second idea corresponds with the notion of context and placement in a social space in which the first person viewpoint implies a dialectic. Further down the line, the I is separated from the individual ‘flesh-and-blood’ agent as it becomes the we in the accumulation of acts. This in itself reminds me of Buber’s philosophy of relations in ‘I and Thou’.
Hegel’s third idea refers to how circumstance largely dictates how things can go better or worse for an individual. We are all the offspring of history and constrained by the socio-familial-political and cultural environment. Although we are constrained by these factors, we also possess a greater or lesser amount of self determination, the ‘I’, that can set the way amongst the ‘we’.
All three ideas are contained within my work and the setting apart of directly human iconography is in some way the setting oneself apart from the ‘we’ whilst being in it. A toing-and-froing of the two forms which converge and diverge as do the Apollonian and Dionysian ways I spoke about in the tutorial.
I constantly seek to reshape ideas as we do our lives, break with habits and reconcile others; shave off the animal in me whilst embracing it as my history and seeing how I cannot be without that part.
The instability of things inherent in Hegel’s view of the world is reflected in the use of brittle, fragile material capable of resisting eons yet its form subject to catastrophic events. Porcelain is, as far as I am concerned, eternal, yet the form it is given is as fragile as the contingencies that surround it allow.
Pinkard talks about new form of life emerging from the cultural rubble of an unbearable former one. So it is with the works I do, they look into a future as though they themselves are the past, with us absent from the scene yet we are here to witness it. This paradox, at the core of what I do, is the source of much of my difficulty in pinning down an essence. So I have reconciled with the evanescence of certainty, accepting the duality of things including my work.
Pinkard continues to talk about hierarchy and the Ancient Greek world’s moving beyond the freedom of a single person in society. This sense of democracy is implicit in what I am doing, all forms are equal and different without any containing an inherent authority over the others. They are all part of a great whole without which each would lose meaning with the loss of others.
This sense of freedom: does it pass onto me, and if I am free, am I independent? To proclaim oneself truly independent is to self-alienate, a social nothingness that negates an important function of the human self. Freedom does not lie in total independence but in the shape of agency that we assume in the context of one another and circumstance. A series of exchanges that at times result in a negative and at others a positive ‘balance sheet’. But in the end, it is the dialogue, the dialectic, that gives the ultimate fruit of synthesis and progression free from brut force, and art is only part of that but an essential component: in shaping tropes we shape ourselves; therein lies the power and danger of art.
For the actual content see the conversation transcript. [↩]
We discussed the ebb and flow between refined and crude thinking and handling during making and how a maquette is a condensation and clarification of this process before embarking on a large-scale project. How two approaches are kept in harmony: of keeping the dynamism of the sketch and the clarity of further finishing. That visibly incorporating both can give a sense of the kinetic essence of the process of making.
We also discussed the sense of something arising out of the material and the struggle involved. That this maelstrom of life, with crowded entities entering and exiting a surface is a metaphor of life and how this can also speak about aspects of humanity. How humans are part of and not separate from nature.
The forms represent individually more or less formal approaches and that this duality is emblematic of how I work, between the emotionally literal and the rational artificial, ritual and representational.
We discussed a variety of ideas for larger scale work: the evolutionary ideas and the mythology that arises from them leads to the whole created using modular units, interchangeable and capable of fitting together in various ways.
We discussed the central notion of seeing life in a non-anthropocentric way and how alluding to humanity in this way can be a powerful way of raising questions about our place.
The various responses to my work raised the question of whether the works are related to the idea of monsters, something we do not quite understand. Monsters are harmful, I do not see my works as monsters but rather as inhabiting a parallel world, asking the question what if we were not here?
This led to a discussion about the Anthropocene and how my work is an expression of my relationship with the world and view of human relationships, particularly the nature of individual vs individual and individual vs group dynamics.
Language is part of this argument and the image of the Tower of Babel, used in a post on my Research Paper was discussed as bearing a variety of conceptual meanings as a metaphor for difference and variety.
We continued to talk about the study as a means of opening out different elements. The sense of the emotional and rational, the Apollonian and the Dionysian and where I might place my work in relation to these paradigms. The balance appears to be constantly shifting between the material and the idea: how the two exchange during the process of making, what the trigger points might be and how they coexist in a final work. I think that this unresolved internal dialogue becomes resolved as a conversation between two works.
The material itself is neutral and whether the rational or irrational predominates is a function of how it is approached. Which predominates is part of the selection process as it is difficult to treat the material of clay with the same philosophies at the same time. It might be possible, but my personal structure prefers to oscillate between the two. The balance between the rational and irrational in a single work could be seen, as being created during the making process by alternating the two approaches. However, as I said earlier, the resolution of the two is expressed as a conversation between works rather than within a single work.
What I appear to be doing is exploring the referencing of ideas through my visual language having created a vocabulary over time. Time during which I have transitioned from working with ideas at a distance to breaking open the carapace of rationality, found in earlier works, to dig deeper beneath the surface to find what lies underneath. And if it is sound, authentic, it might ring a bell in someone else.
At his point we started to talk about how I might lead someone into the work, particularly as the current artist environment is very much centred on the overtly societal and human anthropocentric.
Jonathan sees my work as presenting an ambiguity that encourages investigation. However, a lot of visual culture exemplified by Instagram, with its dangerous description of the world, works against pausing, waiting, taking time. He thinks that sadly, most people will not engage but those that do will be richly rewarded.
I asked Jonathan how explicit does one have to be before becoming didactic (not a good thing) to open out a deeper conversation, how does one signpost possibilities? Is it not our gift to do so and alas a task for the viewer? We agreed this is an impossible question to answer but explored some ways of answering this.
We looked at how the time for ‘demystifying art’ has hopefully passed and how confusion in a gallery is a way of catalysing a conversation in a gallery. We then looked at the importance of titles. Jonathan sees what I do as emotional and the title is the rational companion to it, a balance of the emotional and the rational. This is a very interesting idea and one I have often considered but not quite in this way. A title can be seen, as an entry into the work, a poetic entry. However, there is a caveat: not to overburden the work with a title that closes-down its meaning with the choice of words. Reducing the space for its meaning can damage it as well. Questions such as, ‘What is the Difference’, are good.
This led to the question of Jargon and how it can cover a multitude of misunderstandings and how having simplified my language, I have been able to express complex ideas more clearly. Jonathan suggested that writing about the work, not necessarily explicitly for the reasoned discussed above but as another layer could be an interesting and effective way of rewarding further investigation. I have been thinking of ways to do this. The important thing is not to close the work down with words but rather say, ‘this is my offering to you as to what I was thinking but actually there is a space for you’.
Finally, we looked at how I am planning my work and how there is still plenty of time although my methodology requires careful planning ahead.
To incorporate into the sculpture or place near it, a subwoofer speaker. Ultra low frequencies at high volume emitted will set the ambience to vibrate. If the speaker is set inside the sculpture, it may set the latter to vibrate. This phenomenological approach could be used for the long suspended piece. Ultra low frequencies ‘appear’ to come from all directions so the placement of the speaker is not critical for its perception. below the sculpture might be a solution if incorporation is not possible. However, incorporation would bring it to life.
Having the high volume, low frequency on all the time would not be acceptable. A solution presents itself with the use of proximity sensors. Using such devices would introduce an element of interactivity whilst reducing the constant sound to only when it is being viewed. The idea is to place the sensors in such a way that when a person approaches the sculpture, the sound intensifies and the closer the person moves towards it, the louder and more intense is the sound.
The placement of the speaker is a sculptural, technical problem. How the sensors work carries with it a number of questions that I need to address as soon as possible:
what type of sensor to use – motion, light, infrared, microwave etc
how many sensors are needed – this question refers to the mode of controlling the sound output
how is/are the sensors to be controlled – is an Arduino set up required in which can I need to research this and the coding
all the questions lead up to whether a sensor can detect distance and this be translated to variable volume of sound output – is this controlled with the controller or the sensor
if variable output is not feasible, can several sensors be used to trigger variable sound
The ideal would be for the sound to increase in volume as a person approaches the sculpture and decrease as they move away.
I have been away from my journal for the last ten days, helping Janet to set up her final show at Camberwell as well as others showing with her. But my mind has not been idle and I have been collecting a number of thoughts regarding work during this period. The insight I have gained regarding how the whole thing works in the context of Camberwell has given me an idea for work. Exhibiting in a group show where each offering is in effect a solo show is challenging. This is particularly the case with sound, an integral part of many digitally based works. In many cases earphones are the solution but some consider the ambient phenomenon an essential part of their work, whether conceptually, aesthetically or just to attract attention. Having this in mind, for next year and other similar situations I am considering using particular bands of the frequency range to circumvent the sonic clutter (and traffic noise) of the group environment, without affecting the latter significantly. In order to deliver this final point, I am considering the use of sensors that modulate the viewer-work interaction periodically. For now I wish to keep this idea private since, if it were to become a meme, its singular affect would be lost.
I have been very busy of late and my current work is in a state of incompletion, so I am glad to have just completed a video to accompany a small sculptural work for the interim Summer show at Camberwell. Its simplicity has given me the space to think about a deep level aspect of what I am doing. The narrative in the words of the scrolling text are deliberately anachronistic. I worked on the few words in various versions: directed in the you and I form, playing with tenses, making the content more or less personal. Finally I ended in the place where my instincts had led me to start; with the intention to distance myself from the subject whilst bringing it into direct contact with me in the present as I reflect on its future set in the past. Bringing together the deep past, present and future is very much what my research statement is about albeit taking a narrow field of view. It is interesting how this synchronicity occurs from time to time.
Today we went over some other research statements. What constantly comes to mind is the need to avoid jargon as one develops an idea. I used to use jargon a lot and quite honestly, as I have mentioned before, it does nothing but obscure meaning and prevent clarity of exposition and explication. If a complex idea is explained in simple words, it more often than not open out pathways which were previously barred. Jargon and technical language really serve as shorthand and I try to use only one the idea is fully formed or after have introduced a definition in context. Of course it is not always possible to do this but it is a very good discipline to nurture and develop. It has made me more critical and saved me from a lot of bull shit I might have come up with otherwise.
Other things that came to mind during the session are as follows:
Writing started as a mystical act which changed into pragmatic bureaucracy.
Distinguishing between the real and the virtual needs a defined idea of what is real and virtual much as for the difference between the natural and the artificial. It enters the area of discerning what is true and what is false. Truth and falsehood. As far as art is concerned, I cannot deal with absolute truths, reality or any other such paradigms. I can only deal with tropes and morality or values. Tropes are cognitive comparators and morality is culturally relative, unless one accepts certain inalienable and self evident ideas. It all becomes very difficult to argue in the face of contrary views. I have grown to think that authenticity and integrity, at least for me, are the more important conditions for an artist. And out of this arise observations and descriptions created with tropes that bear some relevance to life.
In order to distinguish between two things, to think only in terms of comparison makes things harder without its sister contrast. Similarities tell you something about why it is difficult to distinguish between those given things but it does tell you why one is considering them as different. Contrasting on the other hand tells you why they cannot be the same and perhaps whether they differ by degree or in kind.
When comparing and contrasting two ideas, objects or events, it is as well to consider any new insights or notions that this might lead to.
Regarding a hobby horse of mine: the word ‘issue’ is much used instead of ‘problem’. I remember when all this issue about issue started, it was a way of thinking positively about something harmful rather than negatively and therefore more approachable in terms of a solution. However, I think it has gone too far and serious circumstances have become issues. Issues are really topics for debate and the word does not necessarily demand solution. So I now like to think of problems as something to confront and issues… you can take them or leave them.
Looking for examples before having formed a clear idea of what they are mean to show can sometimes make it hard to find them. I find it is a good idea to look for the large things such as principles and work my way down until I find examples. It is about taking care of the large things and the details will take care of themselves. It is much harder to construct generality from the particular. However, one small caveat to that is when tidying, I always find I need to deal with the small things first in order to clear the decks for arranging the large things.
Finally I need to prepare some files for the ‘Impromptu’ show at Two Girls Gallery by next Monday (17 June) – A3 files.
I came across an article about the 300 year old Molyneux’s Problem regarding the relationship between sight and touch as it concerns internal world building. This is something that has come to my mind many times in terms of the aesthetics of three dimensional objects and my approaches in making something tangible.
What was once taken as purely a thought experiment due to the impossibility of giving sight to someone congenitally blind has now been presented with an empirically verifiable solution.
In 2011 Richard Held and Dr. Pawan Sinha leading a team at Project Prakash (Prakash mean light in Sanskrit) demonstrated that which Locke had intuited. That the cognitive association between touch and sight have to be learnt and are not hard wired in our brains.
The experience of shape in each sense is independent of the other and they are not associated from birth. A congenitally blind person being given sight would not recognise a cube, say, on seeing it for the first time even if they were offered an identical one for comparison. However, they would soon learn to relate what they experience through touch with what they see. This seems self evident enough but it was not verifiable until recently with advances in eye surgery and indeed many thinkers thought otherwise. Look up dear old Bishop Berkeley: yes the one that thought if you turned your back on something it disappeared.
How does this affect my ideas about making? I work a great deal with touch through my hands. I have been aware that if I were not able to see the composition of a work it would be very different using touch alone. The aesthetic qualities that would arise out of working blind would pertain to another world; one in which light is alien and the mind would navigate and construct form in quite a different way.
I have often referred to navigating form in my mind with an inner eye, moving around the object in question in a virtual world. Although I am not using my eyes this ‘sighted’ world relies on having experienced sight. How different this would be had I been congenitally blind. So imagining being able to create in the absence of light experience would be well nigh impossible
I have condensed the initial ideas for the research statement into as plain English as I can. This may help me see what lies ahead more clearly and explain what I am doing. After all, if I were not able to talk about the subject in an accessible way, what would it say about my understanding of it?
The Genesis and Proliferation of Natural and Virtual Monsters
The ways by which things come about in different areas of life often appear to bear little resemblance to one another. But if you look closely enough you can see that they often share processes that, regardless of the what, where and when, give comparable results if not the same: biology and art are no exceptions despite their very great differences. I am looking at correlations between how large animals evolved – the number of body parts, their shape and the way they are put together – and the creation of the mixed up creatures described in art, religious texts, mythologies and other imaginings. There are strong connections between the ways these real and imaginary animals evolved and spread in nature and across cultures. My research statement will explore the similarities between these processes and their conditions helping to understand how the digital world might influence the creation of future composite mythological beings.
Throughout the time humans have been on this planet, the overwhelming majority of imagined creatures have been what could be called intuitive forms. That is to say, they come readily to mind, eating, breathing, moving and living emotional lives, much in the way we do. However, with the arrival of non-living mechanisms such as computers and their programmes the question arises, what forms might such artificial creators bring forth? Virtual or real, these new organisms might not be readily recognised. as such by we humans. They might well be described as non-intuitive creatures, in other words not coming easily to mind, alien.
A very long time ago, over 500 million years in fact, the world was a very different place. The environment was changing radically, opening out new opportunities for early complex life to evolve new forms or body plans. This was the time of the Cambrian explosion when genetics and the oxygenation of Earth were great driving forces that led to the rise of totally new animal body plans and ways of living. Free movement, predation, heads with sensory organs were formed during this time. Moving forward half a billion years, the world was still changing but in different ways. Ice Age glaciers had long receded and gradually people started to live in large cities leaving their old hunter gathered ways of living, embracing the new sophisticated urban centres in the Fertile Crescent of the Middle East, the Indus basin and the Far East. This changing social environment also brought with it opportunities in which different ideas and beliefs could come together and forge new mythological beings. They grew in number, variety and extension during the Early Bronze Age, promoted by ever greater and finer divisions of labour, growing trade and the invention of writing. These composite creatures like chimaeras and sphinxes breathed, reproduced and lived emotional lives much as we do. These two means of creation share a great deal in fundamental processes despite their very obvious differences.
Today we are on the threshold of another new world, one we share with machines. Machines affect us profoundly and it seems reasonable to predict that their intelligence may also, in the not too distant future, conjure new mythological beings. Present day conditions too can be seen as corresponding to those of the Cambrian and Bronze Age. However, the internal processes of artificial intelligence are rapidly becoming a mystery even to those that create the programmes. If artificial intelligences were to one day create their own mythological beings, what form might they take? One could say that the old familiar creatures are intuitive to our sensibilities but would we even recognise the new non-intuitive artifices as virtual or living organisms? How would we react to them, with fear, revulsion, wonder, understanding or even empathy?
I prefer to use the term hypothesis to thesis because what I am proposing in the research statement constitutes a series of inferences with wider implications in different contexts inviting further investigation whilst maintaining a tight focus on the subject matter.
The following summary makes a series of assumptions that will be dealt with in the paper.
That the process by which the increase and proliferation of the depiction of composite creatures in art is partially analogous to the life processes giving rise to body plan diversity in fauna
that this proliferation is catalysed and facilitated by novel ways of encoding information
that composite creatures arise spontaneously under conditions where an increase in ‘ecological’ niches occurs;
that this process is neither dependent on substrate nor content, that is to say it is algorithmic.
Daniel C Dennett’s idea of algorithm
David Wengrow’s hypothesis, ‘The origin of monsters: Image and cognition in the first age of mechanical reproduction’.
The Cambrian Explosion
Early Bronze Age Civilisations
Late Medieval Period
C20th and C21st information and communication culture including digital
The paper will explore correspondences between the radiation of diversity of body plans in fauna during the Cambrian Explosion and the proliferation of composite creatures in art production during the early bronze age city civilisations. The paper will focus on the role of HOX genes and the emergence of writing as corresponding ways of encoding information capable of responding to changing conditions as well as the increase in ecological complexity in both contexts. It will also look at the recombination of modular components of information that give rise to novel composites and their spread in the environment as catalysed by an increase in kinetic modes such as motility in fauna and trade and migration in human societies. The process of expansion and diversification of ecological niches in fauna and increase in the complexity and diversity of division of labour in urban settings will be considered as an important contributors creating new environmental conditions that offer increased opportunities.
The implications of the proposed hypothesis will be considered as to its possible effect on contemporary culture, specifically in the context of the digital environment and what the role of AI might be in the creation of hybrid creatures in art; particularly in terms of non-intuitive organisms arising out of inorganic systems and how human perception might receive and contribute to such a scenario.
Hieronymous Bosch may also be considered as a bridge between the Early Bronze Age and today in the context of religion. Set in the Late Medieval Period, at the end of ‘The Spiritual Age’, Bosch exemplifies the role of religion and its hermeneutics in generating composite creatures in a novel way within a changing information environment (religion, trade, exploration, writing in vernacular, printing, etc), crossing the boundary between intuitive and the non-intuitive notions, through imaginative speculations that offer diverse symbolic representations of composite creatures.
Jonny Briggs work is firmly embedded in photography despite being informed by his perception of the medium’s inadequacies. Although he has worked hard to break free from traditional paradigms, it nevertheless continues a long tradition of constructed tropes and illusions.
His work is sensitively conceived through the optics of his own psychology and familial relations. Although at times he has moved away from this tight subject matter towards a more general view of things, he always gravitates towards the nuclear family both for subject matter and technical assistance: this seems to be where his strengths lie for the moment. Though the images may be appreciated without explanation, a fuller knowledge of their genesis and background makes them all the more engaging.
His carefully constructed images always leave clues as to their artificial nature confessing their falsity in an honest declaration of that fact. This partial unveiling of the inversions between what is authentic and what is not can only be a form of authenticity itself. This is a case in which knowledge of the subject matter and artist benefits the work and does not detract from the trope but rather adds a further layer to its fabric.
The simplicity of his repertoire possesses a freshness which is in tension with an undeniable claustrophobia. This may evolve into something else in time with life’s experiences.
A preliminary title is an uneasy mapping out of a journey towards an idea without necessarily knowing the best route. This preliminary title is somewhat long winded but it does contain the elements of subject area, context and argument which may well serve as a condensed abstract. The fact that it will need pruning goes without saying but a kernel of an idea does reside in its immature state.
Composite body plans and their proliferation: A comparative examination of the algorithmic increase and propagation of hybrid creatures in the Cambrian, Early Bronze Age, Late Medieval Period and the Digital Environment in the context of D. C. Dennett’s definition of algorithm and D. Wengrow’s archeo-anthropological hypothesis ‘the origin of monsters’.
This is basically looking at how analogous outcomes can arise from disparate cultural and biological substrates and what this might say about ongoing contemporary developments. I see the Late Medieval element, seen through the optics of Hieronymous Bosch, as a bridge from the ancient to the modern. However, I need to think about the length of the RS and it may prove too much to weave Bosch’s particular narrative into the whole: his hermeneutic influences may be too mono-cultural relative to the other areas under examination providing an antithesis to the general thesis of the cultural and biological emergence of composite creatures or so called monsters which, it could be argued, depend on more complex environmental conditions. Nevertheless, as a counter argument it creates an interesting dialectic which unfortunately may be beyond the constraints of 3000 to 4000 words.
The following are additional observations regarding writing such a document.
The RS can take many forms so long as the central methodology is based on critical thinking. For example, it can take the form of a dialectic or the stepwise construction of a hypothesis to be tested. In the current context of the MA tested in the realisation of the project proposal.
The RS could deal with any area of interest but it would be a good idea to make it useful in terms of relating it to my practice with a link to the project proposal.
To make the RS distinct from the area of interest with respect to the PP would be to loose the main benefits of writing such a paper which I would summarise as follows:
build a framework on which to base the PP and final project outcome
creating a conceptual platform/framework, wholly or partially, on which to base future work
contributing to my artist’s statement and other forms of presentation
contextualising my practice
and perhaps start the process of outlining a statement of intent for a doctoral thesis
Both a research statement and a research paper contain a developed argument. However, a RS is not quite a research paper but more something that might be presented at an academic conference: 3000 – 4000 words represents a presentation of around 20 to 30 minutes. It is more a description of an intended area of research or of the context in which one’s practice/research is placed but not about it. On the other hand, a paper is more likely to document an element of some actual research focused on ones own practice.
Writing objectively, outside my practice can positively impact on it:
developing a critical articulation of what I do
building meaning into work
broadening and deepening the context of work
writing generates – as Jonathan says – contexts. It is actually hard to find a context that is coherent and articulable, particularly without thinking about it critically all the time. The MA has set the context for constant analysis and thought running alongside making which has helped immensely in developing a contextual framework (which is in constant development).
A corollary of this is that theoretical thinking, reflection, introspection, observation, etc can stimulate the production of work and not simply be its post-production explanation.
This latter point is very important but it is also important that the area of research or theory, should sustain my interest.
A useful algorithm Jonathan gave us to formulate a research question:
Find a broad subject area
Narrow this interest to a specific topic
Question that topic from several viewpoints
Choose the question whose answer is the most significant to you
The blog journal has been immensely useful in finding patterns of thoughts helping to identify the subject area. I feel as though I have already gone through this process of selecting and filtering. During the Skype chat I took away a very useful approach. That two or more ideas can be looked at in the context of a third idea perhaps suggesting a thesis which can then be further examined.
I would like this to be the case for my RS: to extract a thesis or more correctly a hypothesis; in art nothing can be proven, only argued and subjectively appreciated. If it were to hold under critical evaluation I would be very pleased. In truth, what I have in mind is more a set of correlations between causal circumstances that have certain conditions in common. These conditions are not substrate dependent and can contribute to the described outcome spontaneously. Not being the whole picture I would say that what I am looking at is a partial algorithm, a part driver in the given process.
I welded this simple frame for another project, Logos, intended for working with its maquettes. Yesterday I took hold of it to photograph the latest zoan-like model. I wanted to isolate the work from surfaces in order to minimise cleaning up in photoshop. This worked on the level of convenience but there was also an unintended outcome.
Repurposing something I had made, led to a meaningful solution for display as I mentioned in Between two Worlds. This way of working at times results in the surfacing of underlying ways of thinking and working which in turn can lead to new thoughts and ideas whilst maintaining a focused continuity of source.
Although this is a relatively small piece of metalwork, it is easily scaled up for an installation where there are no means of suspension from an architectural structure. In such a case, it could be, would need to be shaped into the idea/philosophy of the work itself.
What is this, I ask myself? As I made it I felt an unease as it extended its reach physically and formally. The other models in porcelain are clearly zoan but this is different, a hybrid perhaps between animal and artefact, biology and ritual.
And the way I photographed it, suspended by fine cords, gives me an idea for presenting that moves away from the wall, pedestal, plinth, stand, case, cabinet, table top, floor. Fragility, underlined by the immersion in a field of tension, defined by the slender threads, a psychological state between the din of kinetic energy and the repressed quiet of potential energy.
The above series of images is a reminder regarding a recent idea to create 3D animations. I have thought about photogrammetry too which, however, seems to yield imprecise renderings far too often for me to give it the time. In any case , it is all about photographing what I have already made in the flesh, so to speak. I prefer to invent and for this I turn to Blender which is convincingly versatile with high specifications, offering tight control… and it is free.
Yesterday I started a small scale study in porcelain – no larger than twenty centimetres in its largest dimension – for H’s playthings in porcelain. What I show here is the first stage, the plasma. It is small so I can quickly assess its outcome before investing more time in how to proceed on a larger scale. The question for now, is whether to move in the direction of a baroque, visceral rendition or a more schematic, symbolic one. I am thinking that the former might be too ‘noisy’ for it to be receptive to a sound element in the work.
I feel that the two approaches are different aspects of what I am looking to express. This makes me think that there is space for both to coexist, a conversation contextualised in the transition from a mass population engaged in an ecology and the symbolic representation of each class type. The former an animated, raw, poietic emergence from inside me, the living expression of thought. The latter a cerebral aesthetic product, distanced, engaging on another level. Can the two ways be reconciled and merged or are they mutually exclusive?
Not all bodies of work need to be homogeneous. I have talked of heterogeneity before, it represents the outer layer of deeper commonalities. Multitudes exist within one idea, am I to be restrained by the aesthetics of conformity? This may be my own prejudice: the need to replicate serially to create distinct bodies of work.
It may be possible to combine the two in synchronous dialogue, resolving a dialectic within a single work. A transition from raw to refined, from animated foam to schematic idolatry. After all, I am looking for a myth and myths are about origins, creation.
A chronological series of six pen and ink sketches for the H project
These are studies done not for the way the sculpture might look but to exercise in what spirit I will approach its making. I see part of this making as painting. Pen and ink is ideal for this, its fluidity and indelibility require seeing ahead a fraction of a moment before committing to the paper surface. And older than paper, its manufacture, a step away from charcoal belies its sophistication. Artists in the past have used this as a tool for analysis, for its closeness to painting: ink is liquid, applied with a brush of sorts, the unforgiving rigid point the focus of decision. The act of drawing with pen and ink is akin to delineating the boundary between the passages in a painting thereby creating a virtual line only that this line is the embodiment of something that does not actually exist. To do this needs an analysis and understanding of the line’s function in relation to what is being drawn must be done without inhibition or hesitation if the form is to come alive. In the case of sculpture, which deals with weight, pen and ink can express the lightest of touches as well as the heaviest of masses. Its calligraphy is a language inflected and nuanced by where and how the ink is placed and the freedom acquired can equally be translated into other mediums.
Only in the penultimate sketch did I use pencil as a preliminary. Doing so disrupted the rhythm but more importantly, resulted in a drawing lacking in invention probably on account of the forms coming more from the head and less from a more visceral centre. Below is the initial sketch in biro I made a few days earlier featured in my previous post.
Six months ago I started with a loose pool of ideas flowing from existential themes. My main aim since then has been to find a cogent argument that reflects my various interests and that could place in different arenas. This quest has been exciting if onerous; I have gone down many wandering pathways. However, I also have had to discipline my thoughts within a varied practice since many of my ideas emerge synchronously with my practice and two years is not that long to develop a coherent trajectory. I know that the Research Statement will need to be started soon and that it needs to be well conceived at the outset in order to avoid time consuming blind allies during the Summer months, a period good for making.
In view of the upcoming RS, I have looked at the problem both taxonomically and mereologically, reductively and holistically. The tension between these two ways of organising thoughts has helped me identify those ideas and practices that would fit a tight set of self imposed requirements:
flexible and focused
leading to a project proposal and higher research
A thesis emerged ten days ago in conversation with Janet, not by logical deduction but in moment of gestalt in which I saw a bigger picture. With few words I was able to state the obvious precipitated out of the wanderings and writings I have done over the past six months. But how could I be sure this would hold together? I wrote a preliminary abstract or outline of the thesis in a surprisingly short amount of time, much shorter than the time it has taken me to get this far on this post. Since then I have been able to add content and ideas without disturbing cogency. I was concerned about having to read scores of papers and dozens of books in search of an idea. Instead, I know where to go and what to read for corroborative material and help to shape the argument.
I shall write about the RS in future post but for now I wish to continue with what I am doing. Instead I have opened a folder for placing material separate to the blog. Today (yesterday) I went to Doncaster to buy materials, time flies.
Briefly the RS tries to bring together in artistic thought:
The Cambrian Explosion
Early Bronze Age civilisations in the Fertile Crescent
I have seldom used glazes when working with ceramic material; I usually concentrate on form and light and find that colour can place strong unwanted overtones on a work. In the Zoan series however, I want to emphasise the symbolic and psychological over the naturalistic and biological with the intention of placing these works firmly in the human sphere. I see the use of highly coloured, glass-like glazes as a way of suggesting a sense of artificiality.
The above image is one of a number of monochrome photographs I am colouring as preliminary sketches. The result is not the same as the specular surface of glazes but it does give me an idea. I could alternatively paint the sculptures but having tried this in the past, I have found that painting ceramics obscures the surface qualities of the material and defeats the object of using it. It might be something for larger scale work but not for more intimate pieces.
These are some instruments such that H might play with. For those that have been reading my posts, it should be possible to work out who or what H is. Pythagoras divided, Ovid reassembled although Theophrastus is the first author of this unification.
I am looking to render such things in different ways.
Let all flowers bloom – as long as the garden is tended 1
Reading Emily Huurdeman’s paper on essaying art has made me think that what I am doing here, with my work and blog journal, is to create a form of essay (something I mentioned in my previous post). The very nature of the journal, an aggregate of personal responses to my artistic context, its heterogeneity and what Theordor Adorno called unmethodological methodology, makes it very much artistic research. The apparent disparateness of modes connects with the early Japanese quasi essayistic form Zuihitsu. Literally meaning ‘follow the brush’, my thoughts and actions have been in response to what has emerged at each stage in a never ending process.
The noun essay derived from its verbal antecedent assay meaning to test. The essay form defies definition as does artistic practice, it is neither scientific eschewing wholly critically derived content nor completely artistic responding to subjective experience. The essay is a form that pushes boundaries, breaking free from established rules, shaping content in a personal way, free from methodical constraints but not uncritical, not without method. This is the very essence of essaying.
The online blog journal can be seen as new Zuihitsu, a digital workspace where ideas are exposed, weighed and published in a variety of forms: sound, photographs, videos, text, digital interactions in all their forms. But this artistic research although fascinating is not an end in itself but as I mentioned earlier a continuous process. It is a means of better understanding, challenging, renewing and extending what I do. It is a way of harvesting new input and refreshing old ideas, of innovating paradigm shifts, developing and consolidating practices.
Since I started this MA, I have ‘followed the brush’, exercising a freedom from the constraints of a single path and given method. The essayistic form has helped render the elusive graspable and turn the opaque into layered transparencies. Fully aware that I have already touched upon such matters I recognise that many discoveries are only made after many passings over the same territory each time with a different eye.
From the book, Artistic Research – Theories, Methods and Practices. Hannula, Suoranta and Vaden. 2005. Paraphrased to correct a slight, forgivable stilted English [↩]
I have been thinking about the direction of my work so far during this MA. It has been a period during which things have moved from one thing to another, a period for exploring ideas and dipping my toes into all kinds of areas. With the Research Statement in mind, I need to move things onto a more decisive footing in order for me to have the time to complete an ambitious project proposal next year.
In the past I have written about my practice as a molecular construction from atomic elements giving way to a more poetic, informal modelling of material. I have also written about a search to unify my disparate practice; something that has proved elusive. I remember what Will said about my Mid Point Review presentation, that he would like to see a whole room full of works which are not necessarily interconnected. He spoke spontaneously about something that I have continuously reiterated in everything I do. Collections and series, sequences and lines of descent have always fascinated me and heterogeneity has been constantly manifest. Dannii also hinted at another aspect which I have worked on previously, that of creating a legacy from a speculative world that is not necessarily ours. Some of my past exhibitions have touched on these aspects: Chaos Contained, An Artificial Natural History, Traces of Life, Sacred Places, Steel to name a few. These projects have contained an element of evolutionary repetition in a rational collection form.
What I have largely done so far is attempt a synthesis through a taxonomic approach: seeing the whole as a collection of different elements and trying to connect them by defining their degree of connectedness or relatedness. This approach can work as a system of classification, atomising the properties and characteristics of a practice. This in turn is helpful as a means of combining and recombining things in novel ways. However, this approach can also be divisive creating boundaries and exclusion.
An analogy would be seeing all living organisms as somehow related and attempting to systematise this connectedness in a meaningful way. I feel that what I have done is akin to constructing a genetic tree of my own practice. In the case of biology this throws light on the mechanism of evolution and descent. However, evolution does not have foresight, it is not teleological. Artistic practice on the other hand, has a strong element of aiming for something, a goal or purpose be it wealth, influence, change, discovering or what have you. Taxonomy although useful, is an analytical tool that does not provide all the answers, it is not contextual. Another analogy would be that of taxonomy in biology only tells us about how related organisms are, but to find out more about how they interact, we need to look at their behaviour in their given environments, their ecology. I am not surprised that the Linnean system of classification predated by a considerable period the first ecological observations by Humbolt.
The shortcomings of taking a classification approach was highlighted in the two group sessions we had on Elusive Taxonomies. In short, taxonomy is only partially helpful in giving a synoptic view of a practice or in developing a methodological and philosophical synthesis. In order to get a fuller picture I need a different optic, invert things so that instead of looking at the relationship between areas of work, I look at how each component relates to a whole. Respective interaction then become predicated on inclusion, as part of the whole in which they participate. Each component then shares a parthood with every other component in relation to the whole. Connections are therefore a function of this parthood rather than a more reductive inclusion exclusion defining their place and function.
This is a subtly different way of thinking. Taxonomy is useful in seeing how things relate to one another; parthood, or mereology, helps to conceptually bring together things that might not appear related in the first place. With respect to my practice, looking at it mereologically, what brings together its different aspects would be things such intent, response, experience, circumstance. (There is one element, modality, that seems to straddle the two ways of thinking and presents and interesting conduit between the two.)
All this of course is an analysis of what arises out of intuitive thinking. It is also complicated by how my practice has changed over time. This introduces an evolutionary element which needs to be largely set aside for the moment: I need to concentrate on the now. However, it does highlight an important element that goes into the heterogeneous character of what I do, that I cannot endlessly repeat an idea or process. The reasons for this are for another time.
To summarise: using taxonomy and mereology together is a powerful way of critically analysing my practice… after the fact. This analysis influences but not necessarily directs what I do in action . Taxonomy is a means of understanding the component parts and their interactions a way of building a framework; mereology on the other hand helps identify the context and reasons for my particular methodology.
It has been some time since the Low Residency. Many thanks to Ed Kelly for condensing into a relatively short time frame a great deal of theory and making. I was already very familiar with Audacity but there is always something to learn and I have taken on board a number of ideas. The great usefulness was to clarify and formalise certain practices that I have followed either intuitively or uncritically. The principle one is the idea of cutting or editing at zero. This avoids clicks and pops producing clean edits. The other is more a concept, that of fragmentation or deconstructing sound into atomic elements which can then be used as building blocks. This ties in with the introduction to Musique Concrete in a Skype lecture a few weeks ago.
We spent time harvesting sounds from a variety of objects. I was particularly taken by a small music box mechanism that Ed brought along. He turned the handle in short bursts while I recorded. This broke up what would have been a familiar melody into fragments of sound. It is a fascinating approach to capturing sound, so much so, that I ordered a number of mechanisms over the web with which I have started to experiment.
Ed mentioned Pure Data, a visual programming software which was, however, too much of a learning curve for the workshop. Although I have started using it, it is too early to say if I shall be using it in the final works, much depends on whether I can find work-arounds to my aims rather than spending too much making-time learning how to use it.
After collecting the sounds, each one of us put together a short soundwork (below). I was particularly taken by the reverberation in the stairwells (pictured above) running up the new building at Camberwell.
The rectangular spiral staircase resonated in my mind with the spiral stairs at the Queen’s House we visited in Greenwich.
The previous post talked about sound and sculpture in terms of building blocks of non-verbal language. This is a fascinating area of theoretical practice that seems somewhat neglected whether because it is seen as irrelevant or the two areas are separated by a formal academic-professional gap I do not know. Artists have used sound and sculpture together, but as I have said before, one as the container or instrument of the other, not as equals. I do not presume to find a perfect balance between the two but I do approach them as having, at least theoretically, homological correspondences. Using basic units as the building blocks of each respective language, much as phonemes are the basic units of speech, I can perhaps meld the two together. Curiosity as to whether this succeeds is part of the impetus for the exploration.
I still maintain that sculpture is silent and sound disembodied. Sculpture primarily finds its place in my kinetic being, sound vibrates the corpus as an intangible organ sounding within me. Regardless of how they are interpreted they at least have this in common, that they inhabit the body as the closely related physical senses of touch and vibration.
I have been looking at Pure Data as a means of generating sound, the basic components of it, vibration as frequency, pulse and volume. At last I have worked it out by following some videos on YouTube. The actual mechanics are simple, the syntax is straightforward enough. The learning curve seems to reside in understanding what each object does and how it interacts with other components. From this sounds can be generated without reference to outside associations. This seems the way, at least in great part, for crossing the boundaries between sculpture and sound in the purest sense; how sound can be shaped and moulded to correspond with sculpture… and vice versa, or perhaps even shaped synchronously. Sounds generated can then be edited in some other software or generated in situ and manipulated in real time.
I have referred to the central role language plays in my work. This role is not an overt one, I have not used text or words explicitly so far. However, in this blog journal I use words as a glue that binds together ideas in some way trying to make sense of what are at the outset subliminal responses to experience. In the Mid Point review I recently mentioned language as a principle theme in the project proposal as I did in the initial symposium back in October; the time has come to attempt at explaining this.
Why is language important to me? Beyond emotions, physical responses and sensations, in order for me to think about the world around me in ways that build on experience and gain some understanding I need a more complex and flexible way of ordering thoughts. This way comes in the form of verbal language, spoken and then written. A word is an abstract entity that stands for something we encounter in the world. This label is made up of individual sounds or phonemes. Phonemes are recombined to form words, words form phrases and sentences and so on articulating complex thoughts.
This correlates with how I work through sculpture. The basic building blocks, or ‘phonemes’ are shapes. Each shape raises a response in me just as the sonic values of phonemes carry with them an emotional-auditory response. This idea is used in poetry as in alliteration giving a sense beyond the abstract meaning of the words. In Dylan Thomas’ Under Milk Wood’ the poet uses alliteration just for its sonic effects,
It is spring, moonless night in the small town, starless and bible-black, the cobblestreets silent and the hunched, courters’-and-rabbits’ wood limping invisible down to the sloeblack, slow, black, crowblack, fishingboatbobbing sea.
However, he also uses metaphor and rhythm to build a vivid sensual picture full of emotional as well as cognitive tension that goes beyond the semantic values of the words. It is a shaping of the world in words.
Sculpture can also work in poetic terms, the semantic-associative value of shapes when combined give rise to thoughts that go beyond the sphere, cone and rod, nose, finger and pear. I use shape as a response to thoughts and ideas; what emerges is not an ekphrastic embodiment but an intention towards a more poetic form. Sound too can be used to build ideas but its very essence conveys a deeply subjective emotional meaning, one that can be used to build emotional narratives that in turn can create associative responses. Words, sounds and shapes act on our senses and thoughts in different ways but they all bear a commonality in that their basic component units can be combined and recombined to create a complex language. Where they differ is in what they communicate and this is why combining, in my case sound and sculpture does present a valid case.
This leads me to ask, should a sculpture be silent and sound disembodied? This purist idea is difficult to refute and has been the ground for a silent debate during modern European history. Perhaps in the end sculpture should remain silent. But then again, I can see that shaped sound could inhabit a sculpture and pulsate within its form, tracing its contours as it pushes against silence, forming a boundary of perception so that the very space around the sculpture is contiguous with it; a symbiotic intertwining of form and sound tracing reciprocal interactions between two modalities that go beyond the semantics of the words involved in explaining the relationship.
The study in porcelain shown above is one form that challenges me to think how sound might correlate with form. Not this particular form, ostensibly it is part of another work, but as I am looking to bring together different works as part of the project proposal it does ring bells in my head. Is scale important? I think that viewing distance may play a part, perhaps sound responding to the placement of the receiver in relation to the form much as the visual is rewarded with different perceptions: long distance – overall structure and its relationship with the environment, intermediate distance – component parts and their interrelationships, close up – surface and texture. This is all of course separate to the associative meanings the form might bear. How can sound be distilled into this sort of relationship, frequency, pulse, detail? Can the same be applied to sound as to solid form, are their analogies or am I dealing with something different in kind? These are all questions I aim to explore…
For the mini popup show at Camberwell on Wednesday 20 March 2019: a 30 second video following from the idea of ‘Do Shadows Dance When There Is No Light?‘, or as I would call it now, ‘Do Shadows Dance in the Dark?’ Having received an email from Jonathan notifying of this imminent show, each one being given 30 seconds of time, I set out that very evening to complete this short. To make something that only lasts half a minute within a short short time frame was a very good constraint on my normal practice, something akin to a workshop timetable.
Unconcerned curves hide the sharp pricks that bleed me in your making. Without remorse. Deep from within the surface of your smile again you bear your self determination, one of Gorgon’s tresses fallen with pride glinting as juice that trickles from rotting fruit; dry as husks in autumn scattered in a storm… yet you are the start of something not quite new but close enough. The indecision of the surface skin broken into pieces and made clear in the late Winter sunlight. I see now that things must be all things and I must double my response as you reflect your shadows in a dancing pair. Light does not come from one source alone; I cannot be one but many. My thoughts are not wedded to a single species but a whole kingdom, writhing, wrestling with life and loyalty rests only with the sense that there is nothing that cannot be.
I have thought hard about which way to go in terms of the aesthetics of the project: surfaces, forms, degree of working, colour, details and so on. I mentioned in an earlier post about the tension between unity of style and variety of content. My nature is such that there is no answer but to encompass all ways and let the underlying algorithms of my mind make the connections and trust that these rise to the surface of what people see: the Mid Point Review has been a great affirmer of what I thought.
I now have a clear way forward; to allow crazy variety, if that is what happens, to manifest itself. The works themselves must be all they can be and not constrained by some overall sense of stylistic cohesion: the world manifests itself in wonderous variety. So now I must work and test, experiment, and reach and grasp outcomes that inform what is to come and trust the process I have gone through. There is much to do in the given time so from now on I shall gather what I have made in my mind and build with it the steps to another world grounded in this one. The above is an image of a porcelain piece in progress accompanied by a written impression of how the process of deciding within one piece affects me.
NB: The surface skin refers to the outer aesthetics of the finish.
Yesterday we had the silent crit of everyone’s mid point reviews. It was a long day and I am glad I had prepared my comments and questions, there was a lot going on and seven minutes for commentary after viewing each presentation made it almost mandatory that responses should be prepared.
Below is the studio based discussion as audio and transcript followed by the written Skype comments from online students.
I felt that I gained a great deal in thinking of the work of others and the responses I gave in writing can be found here.
I found the comments thought provoking, affirming, and stimulating; in time I shall respond to them, in the meantime…
Sound file of the studio comments
Edited for clarity endeavouring to maintain content.
These sculptures remind of video games such as [inaudible] group simulations that focus around evolution. I don’t know if they would be any use. There are lots of simulations on line that kind of simulate evolution and a lot of creatures end up looking like that. So, if he is looking going more into digital that might be quite useful.
I really like the ideas that he is exploring the alternative the alternative forms of creation. There is one particular image in there that resonates with me it brings together all of his ideas in a single image that’s got ceramics in a bowl with different combinations of materials that it speaks [of] anthropology, archaeology and science fiction. The fact that they are made out of ceramics has this ambiguity about whether they are from the past or not or whether they are future artefacts, the way they look is quite science fiction. It holds you in this wonder space where you don’t know where these objects exist in time and space and that for me was the most powerful out of all the images.
I’ve got a question which is, is there a way of imagining an ecosystem in which these fictional beings have an interrelationship
Jonathan: what, like in a whole universe, similar to what Ben said [ about] simulations… a whole environment
Ed: Because I mean they have an organic style and if you were to put several of them on a table together, as has been suggested in some of the images we saw where you start to try and work out how they feed off one another or how they co-habit, that could be a useful tool in…research.
I was wonder, suddenly there were two churches in there and then everything went back to the organic, you see that there was a church and then a mosque then it was… we’re back, we’re back to the fluidity of form… like there is an existential angst to his work that is represented in the faces crying out from this [inaudible] thing… maybe I’m misreading
They seem more like sacred artefacts that have been displayed they are very different, they are much more ordered, elegant, symmetrical they were very very different from the other more organic [inaudible]
There was one large sculpture that had the kind of almost Jewish candle, almost, form, ceremonial form
That’s the culture that’s connected to the organic life forms that’s the human culture that’s evolved from the same environment that these other organisms have evolved from that’s the link between the [two] that’s the human culture relative to the…
These might just be the narratives we develop [as] the audience and maybe it should stay on video.
There’s an artist that Alexis might find interesting called Marguerite Humeau, she’s French she’s quite young, she had a room in Tate Britain quite recently and she calls herself the Indian Jones of Google Times. She makes sculptures of animals or things that could have been but hadn’t been so she’s worked with scientists and all that but she displays them very differently to how Alexis shows his work. It is very slick it’s almost like you’re in a designer store but she incorporates sound into her work as well. It might be someone you could look at, Alexis.
It made me think, what about, a lot about the legacy of life forms and what they leave behind […] because ceramics is one of those things they leave behind because it is so durable but maybe the thing that we leave behind is plastic everywhere maybe there is this plastic after that, maybe explore materials and explore and contrasts things like plastics and other materials with ceramics.
There are lots of different… I think the thing is with his work it just touches on so many different areas and you almost want to say, alright, go for the archaeology, go for the anthropology.
[Jonathan reads the second half of Pav’s comment adding] at this time in the course it still quite big and broad
Ed: and speculative and that’s fine.
You can tell the way he’s thinking in quite a dense way, I actually would like it if he went full on maximalist and maybe really immersed in this whole room of objects not necessarily interconnected.
Danni: Like the British Museum
Ed: Like a Hieronymus Bosch triptych or something like that, where you have an overwhelming deluge of material
Will: I think I would go that way because that’s where his head is at with it and embrace the quantity then the role of [inaudible]
Donald: I think, when you look at pictures of his studio, he’s doing that anyway
Will: That’s what I said, it looks like the Chapman Brother’s studio, there is so much stuff in there, l really like that.
Ed: Well, the Chapman Brothers definitely reference Bosch, ‘Hell and Fucking Hell’ are like three-dimensional Heironymus Bosch triptychs there is a conscious appropriation of that.
I was wondering whether [he’d] be interested in trying in a practical process way to explore the edge-lands of his work, particularly in ecology where the sea meets the land and we have this incredible explosion of creativity whether his singular practices he can bring them together and they can almost cross-pollinate each other and what that would turn into
Ed: Hybrid. He is all hybrids, everything he is doing is a hybrid of one thing or another. I guess it does cross-pollinate. The question is how the ideas cross pollinate in curatorial [setting].
How important is that people understand his work because I think I would need to take away his artist’s statement and spend a couple of hours before I could understand all the ideas that he is trying to articulate and does that matter. Do you care if someone just takes your work at a very face value…
Dannii: I don’t know, I think there is a possibility to discover the language into something much clearer and purer with a more simple language that can make it much easier and accessible, just simply using more common words for example
Ed: So you are asking him to be less literary
Dannii: He is using very specific words to articulate himself
Ed: It is very sophisticated
Dannii: He could be a bit more generalist in his language and then I think more people could potentially could [noise] the work.
Ed: But I think presenting it in a gallery setting could be poetry that he indulges in rather than prose in order to actually make sense of…
I have read this text for a very long time because the words, the English is quite hard for me. But I quite like the idea of inversion of methodology and cross-fertilising, it’s quite interesting for me, but I am trying to figure out the meaning, it is the same meaning in Chinese, when I saw his work I just could not find these things in his work, this is my question.
Skype Chat Comments
My favorite piece in your works shown in the video is the one using face as the core element. I can even hear of something from the picture as the opening mouth is so noticeable. I would recommend you to check the Radio Tower at the Tate Modern, maybe you can put a speaker inside the pot then it will works as the ‘voice’ of man?
Video mapping works really well.
Old time room is much better than white cube way of exhibiting.
Alexis I really liked the idea that nature in choas creates new forms of life and so does the artist. It really made me think of evolution in an instant way. Evolution seems always so slow, but in reality the creation of new forms happens all the time, you made that connection for me, which is so simple, but somehow did not occur to me like that before.
I am fascinated by the way you transform your sculptures from being still life to a machine of emission. I’m curious to eventually encounter the ways in which you integrate digital mediums within your more tangible work.
Relationship between drawing and sculpting reminiscent of Henry Moore – organic similarities, connectivity and fluency in form and growth. ‘The digital as an entity that is separate and encroaching on us’ – i am interested in this notion relating back to conversation we had during low residency – is this something which you could push or consider in terms of how that relates to your feelings about evolution and states of nature – what is ‘natural’? It is something that has a label of belonging to a category and a construct – do we percieve the encroaching digital as a shadow that follows us and belonging to its own dimension in some manner? Is technology threatening? If so why – isnt it that if anything we are our own threat – we gave constructed and clung to a fixed idea of what constitutes ‘wilderness’ or the ‘default’ – I wonder whether intentionally provoking those concerns and shaping a voice for them might be constructive
Brilliantly written as always. It leaves me with a feeling of awe and admiration. It takes me somewhere whery primal and very deep at the same time. Eerie and drawing at the same time. Very dense in theoretical information, maybe a bit too much. I would like to see more physical examples of work currently in progress and any struggles relating to that.
You have developed a sound reportage on your intellectual enquiry into the Universe. Your practice and research have resulted in the production of quirky and diverse work, which is based on a broad theoretical framework. Your video has strong documentary qualities and provides an erudite and detailed record of your approach in a clean and highly aesthetic manner.
However, I felt that the contextual element was underplayed. There was a sense of confusion regarding your research question and the overall focus. Your creative intentions remain ambiguous and undefined. Is it possible to produce work about the dynamics and complexities of our holistic existence?
Can your project be about “everything”
Alexis – Ethereal and Primordial and appearing almost religious and evolutionary bringing lots of ideas and philosophies together. Seemingly precious objects appear as though they are from a past time.
and i think you can even use some echo in your sound work as mythology is included in your contextual research so i guess using echo might be able to imitate the ancient voice. i hope this advice would be useful
Alex’s work reminds me of a documentary of nhk. It talked about life was developed by accident cross accidents which is just like a miracle. And most life was came from ocean and I feel like through your work I can imagine how they develop…
The idea of fragility and permanence and your interest in an evolving society stand out to me. Though I found the overall video quite confusing as there was so much in it! Lots of great ideas in there… Maybe it need honing down a bit moving forward?
Jacob Wrestling with the Angel: Jacob Epstein, alabaster (in Tate Britain)
The Jacob of Genesis wrestled with the angel, some say with God, taming a vengeful angry deity and forging a new relationship between humankind and divinity. I see this divinity as the all encompassing material universe made flesh in a dream as Malakh.
After completing the Mid Point Review I woke to a new realisation, that of grappling with a multitude of ideas trying to reduce them to a single point with a focused coherence of some sort. It did go through my mind to do the Tantra thing and make a painting symbolic of this synthesis into a whole: a point for meditation. However, my nature would not allow me to settle on such a solution. You see, I view the world as a continuum panning vertically from the infinite to the infinitesimal and horizontally across the fastness of time and space. The world is a whole simple single entity and it is a complex of interrelated elements divisible and united. Reality is smooth and simultaneous, granular and causal. This duality is not a matter of indecision but of phenomenological understanding.
So the problem I was wrestling with can be summed up as, do I present a single work that tries to represent a multitude, issues, subjects, material solutions and approaches, a symbolic sign or do I present, what I call in the MPR, a compendium of interrelated works, each able to stand on its own? The former requires a silencing-out of ideas, the latter risking to appear disordered and confused. If I am to be honest, the minimalist approach does not satisfy my nature however elegant it might appear. I am a mongrel of ideas and influences, philosophically and genetically heterozygous .
In an attempt to resolve this problem I am lead to ask of myself, what is the glue that would bind the works if I were to take the second path? I have already gone over this in a much earlier post. I also hinted at the answer in the MPR where I have written, words are the labels of my thoughts. This is at least partially true. I am not a good speaker but I enjoy the act of putting ideas into words the semantics of language and their syntax. Much of my understanding of the world is worked out with labels, shuffled and shunted in my mind until they fall into place only to be moved again and again. I am talking semiotics here; touched on in the previous post Significance and Meaning.
Having settled on my general direction and that is not to have to create a single work, however holistic it might be, and that words are the narrative glue that binds their content, I start to think about the relationships between the works. In so doing, they start to take shape in my mind, decisions have a rational and an intuitive element: working with Dionysian impulse and Apollonian restraint towards a balancing and rebalancing a weaving of interrelations, invisible lines of tension that burgeon into some physical form in each part.
But do I explain these relationship in words or should they be left to be uncovered, discovered, debated and vulnerable to misunderstanding. I must leave this to the receiver but the trick is to leave sufficient breadcrumbs for way into the wood to be made accesible. A catalogue or a statement, a performance or poetry, for now that question can be left unanswered, there is time for that to develop and mature.
Now for some content. The very provisional titles with which I refer to each principle work, yes there are also small morsels I plan to sow in the interstices, are significant as monikers for the links being forged. Hermaphroditus deals with gender, language and religion through the channel of myth. Logos/Oracle again inspired by the myths deals, as logos alludes, with the disruption of language and understanding through biological and geological metaphors of the gut and the cavern: the devouring of reason and dissemination of ambiguity and ambivalence. Language links these two works but the third installation is unspoken, the absence of word. Shadowland translates the three-dimensional world into two dimensions, constantly reiterating in analogue and digital means the simplification of form, altering its meaning. Whereas Hermaphroditus unfolds and Logos confounds, Shadowlands simplifies and in so doing creates another narrative.
The trilogy of unfolding, confounding and simplification represents in some way how I see this project. An attempt to simplify and synthesise entanglements through unfolding. The nature of interpretation and mutation of meaning links the works and suggest further works. Is this not the essence of myth? As I write I start to draw together the elements I outlined in the project proposal and as I do so other considerations start to fall in place, considerations such as the aesthetics of each piece. This starts to look less important and somewhat superficial. However, it is still important as a means of conveying a sense defined by the thoughts that go into the work.
Finally, there is the fourth element, the antecedent to all three which for now must remain undisclosed lest I should abandon its making and disappoint myself. It is a relic of times past and gives context within my own practice, what you might make of it is not for me to say.
I now feel renewed, on the threshold of a dawn having wrestled the angel. Like in a dream I did not realise I was in quite such a struggle. This realisation has come with the Low Residency and the MPR. There is much planning and preparation, experimentation and workings out. The projects are ambitious in meaning and in making and I cannot afford to leave things to sort themselves out. I cleared a path but it is yet to be trodden and tested. It is now time to take the next step… and keep writing.
Having completed my Mid Point Review video, I sat back and thought about it, what does it communicate, how would it be seen by my peers? The video touches on some of my current research and development, nothing concrete as yet, no final work(s) to show or indicate their latent presence. Ideas and thoughts strung together, loosely milling in my brain taking up positions, making connections, only to be shaken up again.
I was struck by the coherency of the other presentations, how singular and linear, how focused on a single target. In Michelle’s video, she talks about the small history, not found in books, encapsulated in conversations and daily actions. This made me think that I deal with large history, quite a different proposition. But at a point the two must meet. Where does the individual become society and vice versa? This is something I think about a lot; the tension between the small and the large. I would be interested in following this line of thinking further in my work.
Held in all that is said and done lie two things, meaning and significance. These are words often used synonymously. Both convey information but in subtly, or perhaps not, different ways. They can convey roughly the same information with very different implications. Meaning is about the information contained within something and how it is represented, it is symbolic. What is the meaning of, ‘a thirst for knowledge’? The desire to know more about things. Significance on the other hand is more about the relevance or importance of the contained meaning, its impact or consequences: your thirst for knowledge in this research is significant to what you might find.
Both ideas work with information but in different ways, symbolic versus causal. What I am saying here is that my work deals with both the symbolism, the semantics of something and its consequence. Another example arises out of the question, what is the meaning of your work, what is it about? I have plenty of answers to this but are they significant, will they affect the person or just switch them off. This ties in with the conversation had with Pav during the group presentations on the second day of the Residency. I have to be interested in the meaning, it is one of the things that sustains my interest in what I do. However, it is more relevant to be talking about the significance of the work: how does it affect the receiver. And for this, a conversation needs to open and remain open. I cannot tell what the significance of a work will be. I can work with significant matter, but how it affects someone else, that needs to be part of an exchange.
This brings back to mind Anderson’s idea of art, ‘culturally significance meaning, skilfully encoded in a sensuous, affecting medium’. It is ‘significant’ that he deliberately uses the two words in his anthropological summation. The meaning is encoded through a medium that both affects and is perceived phenomenologically, not just semantically. The skill lies in how effective the artist is in doing this. The point then becomes, how significant is the meaning and all that is done with it, to others?
I have some ideas as with Hermaphroditus and Logos.
An introductory collaboration where we formed small working groups to work on a one day project. The starting theme emerged out of a poetic exposition of the art of seeing by Jonathan where an ideal society was likened to the growth of a tree: what if society were to grow like a tree.
A tree displays its leaves so that each one can receive as much light as possible and the living mass above ground is balanced with an equal amount of biomass unseen, below ground. The leaf metaphor proposes an vision for human society where every individual is naturally furnished with equal nourishment and opportunities. I felt that the underlying theme aimed at seeing the groups as analogues for a wider society and the project each one embarked on was its development, growth and flourishing.
We were given materials, artificial detritus, paper, plastic, leaves and threads amongst other things which could be inserted and composed in thirty-five millimeter slide frames and finally slide projectors.
We sat down and devised an initial plan to give us a framework to enable us to work together productively, creatively and enjoyably. At first we worked as individuals exchanging ideas but each one following their own initiatives, each slide being viewed with the projector and placed to one side. The variety of images was interesting and the whole process gave me ideas about how to create abstract images as a divertisment from my normal practice.
Having collected a large number of slides, a group self organised to create a slide show of the images on Apple imovie. They were captured by photographing the projections, scanning and photographing the slide in natural light with the outside environment as a backdrop. The confluence of approaches was collated on the computer selecting and composing a sequence that would be used for a final presentation.
While this was being done, I and Kelda created a shadow puppet show improvising characters and scenes with the materials available. The show was captured as a video by phone. The arrangement was awkward to film and the result had a perspective slant which had to be incorporated in the overall movie. A soundtrack was also created from the video sound and we also improvised sounds in a cupboard room to overlay on the movie video.
The exercise was not so much about the finished project, not even the making process but rather the process of working together and how very different personalities could come together to form something that holds more than its content. Seldom if ever do I have to cooperate as an artist with someone else and this was a refreshing experience that allowed me to slough off the burden of personal responsibility. Under time pressure, often a stimulus to productive innovation, I was able do things that I can work on in the future. Perhaps not for the MA, but shadow puppets would make a wonderful hobby allied to my main.
Obviously the final movie was incomplete, disjointed and at points incoherent but that does not matter. The overall did have a sense of narrative and humour evidenced by the laughter it elicited during its screening. The four groups produced very different final results perhaps showing that societies cannot all be the same and neither could they.